contact France Today

Search France Today

Thursday, 17 October 2013

Le prang

I've admitted before that I'm not exactly the world's best driver.

Probably fair to middling would be the best description with parking remaining my weakest point.

Well that and negotiating ramps leading to and from underground car parks.

But that is ground well trodden - or not so well driven  - as the case may be.

As far as accidents go? Well, I've been pretty fortunate over the years.

I've only had one major incident. It happened almost two decades ago on a long drive back from Florence in Italy to Frankfurt in Germany.

I was in Switzerland late at night, clearly driving too quickly given the pouring rain conditions, with dogs in the back and my late mother in the passenger seat.

It was nothing too dramatic, just a one vehicle (mine) accident ending up in the middle of the motorway, the car written off and my dear old ma (unhurt) asking, "So can we continue now?"

Apart from that, nothing. Not even a bump or a dent (I don't consider that Paris underground ramp affair to have been an accident, rather a moment or two of close contact involving a borrowed clunker - well it resembled one by the time I had finished - and the walls of a car park).

Give the man a prize.

Until last week, that is.

Because that's when I had the "prang".

Of course it wasn't my fault - these sorts of things never are, are they?

But in the eyes of the law and for insurance purposes, it was.

After a dash around the supermarket and the less-than-15-items till, because these places are not the temples of delight for me that they seem to be for many others, I made my way back to my car.

Leaving the car park, I found myself behind a woman driving at less than five kilometres an hour with a couple of stalled engines thrown in for good measure.

I kept my distance, ready - I thought - for the next unexpectedly sudden stop.

But as we both approached the roundabout, I failed to anticipate that she would decide to come to a complete halt for no reason at all.

Even though there was nothing coming (although she later claimed otherwise) Clarice - for that turned out to be her name - slammed her foot on the brake.

I didn't.

It was the gentlest of bumps but enough to have us both jump out of our repective cars to inspect the damage.

Mine was unscathed - apart from a slightly buckled registration plate, while hers...well it seemed to have "suffered" the smallest of dents beneath the rear bumper, but one which looked suspiciously "older" to me.

I said as much, along with a few well chosen but polite (honestly) words on the level of her driving skills.

Clarice though, remained convinced that the blame lay fairly and squarely with me. She had stopped because of oncoming traffic and I was clearly in the wrong because I had driven into her.

"Isn't that right Gladys?" she said to her friend who had been sitting in the passenger seat.

Gladys didn't look entirely convinced, but nodded in circumspect agreement.

And then the official fun began.

Neither of us had a copy of the wonderfully named (in French) constat amiable d'accident automobile (accident report) in the car (I had recently had the annual clear-out and must have chucked it) required for insurance purposes if the accident is minor and the two parties involved decide to come to an amicable agreement.

Clarice didn't have one either because...well the reason will become clearer in a moment.

So what to do?



Well first of all, I took a couple of photos of the position of both cars when the two joined in unholy "bumplock".

Friendly enough after the initial "shock", Clarice didn't think much of my idea of driving together to the nearest insurance agent to request a form to fill out together.

Instead she wanted to call her husband for advice on what to do.

He, however, was unavailable.

So in true "Qui veut gagner des millions" ("Who wants to be a millionaire") style, Clarice opted to ring a close friend who convinced her that we should all make our way to the police municipale where we could sort it out.

The "amicable agreement" looked set to turn in to a major (road) incident: the main protagonists - that slightly bent registration plate and the dubious dent.

So off to the police municipale we headed. I led the way, as something told me that I would be better off in front of Clarice rather than behind her.

As luck would have it, and this being France, the police municipale had, of course, shut up shop for the day, although there was a contact number for emergencies.

I kept quiet, fearing the worst.

But the now emboldened Clarice had a "better" solution - and that without 'phoning a friend.

"The gendarmerie!" she exclaimed.

"We can go there and report the incident. Plus they'll have all the necessary forms available."

Gladys and I exchanged looks as though we sensed that this would prove to be yet another over-the-top reaction, but Clarice was not a woman to be stopped. She was in full quest mode...justice.

Besides, I wasn't in the mood for an argument and so, off we set.

A few moments later we all walked in to the gendarmerie compound to be greeted by a young man dragging on the remnants of a cigarette.

Explanations quickly made, he told us that the constat was all we really needed, whereby we could agree what had happened, countersign and then complete details of our own version of events for our respective insurance companies.

As for the constat - he didn't have one. We didn't have one. Did we really want to fill out an official report for something so minor?

"No," I thought, as providence once again stepped in, this time in the form of a call from Clarice's husband.

Her saviour. My saviour. He had a spare constat and would make his way into town so that we could finally reach that agreement which had Clarice had been so unwilling to accept in the first place.

We all bid farewell to the gendarme who wished us a pleasant evening and waited.

The 15 minutes Monsieur Husband of Clarice said he would need to arrive eventually turned into half an hour but, once he appeared, I quickly discovered I had an ally.

"Honey - again?" he  said, looking at his wife as he introduced himself to me.

I looked at him.

I looked at Clarice

"Again? I asked

"Yes, this is the third time in as many months," he replied.

I returned my gaze to Clarice, who preferred to look away sheepishly.

As Monsieur Husband of Clarice and I completed the tedious task of detaling what had happened and answering what seemed like a multitude of questions, his wife remained understandably quiet.

She no longer contested my version of events which, I knew, would not exonerate me in terms of the insurance claim.

And that suspicious dent?

Well that'll be for the insurance company to decide. They have the photos and the completed constat.

Sure, I'll have to drive extra carefully for the next five years apparently if I want to recover my no claims bonus.

On past form, that shouldn't be too much of a problem...unless I happen to "bump" into the likes of Clarice on the road.

But at least now, even though it's not a legal obligation in France, I've got a copy of the constat in the car...just in case.

Friday, 11 October 2013

Friday's French music break - Patricia Petibon and Natalie Dessay, " La chanson des jumelles"

Friday's French Music break this week is perhaps an example of what happens when two worlds collide - musically speaking.

It's a remake of " La chanson des jumelles" from Jacques Demy's 1967 musical "Les Demoiselles de Rochefort" which starred real life sisters (although not twins) Catherine Deneuve as Delphine and the late Françoise Dorléac as Solange.

Catherine Deneuve and Françoise Dorléac (screenshot from clip of "Les Demoiselles de Rochefort")

In this new version Patricia Petibon (Delphine) and Natalie Dessay (Solange) team up with Michel Legrand, who composed the music for the film (Demy wrote the lyrics) to deliver what is...well a rather disappointing rendition.

Now opera buffs will be familiar with both women as they're well known coloratura sopranos, and there's no doubting the talent of either.

Petibon is highly rated for her performance of French Baroque music and Dessay can and has turned her vocal cords to just about anything and everything operatic. Plus she can act.

Somehow though, the obvious polish and perfection of their voices is ill-suited to what is, after all, a rather light and completely charming song.

Sure, the remake swings seriously as it benefits from Legrand on piano alongside Pierre Boussaguet on bass and François Laizeau on drums (they're excellent).

But the voices just...well...lack the magic of the original version.

Although neither Deneuve nor Dorléac actually sang in the film - they both performed playback to the to recordings of professional singers Anne Germain (Deneuve) and Claude Parent (Dorléac) - the routine was an unforgettable one from the moment when, "out of nowhere", a trumpet sounded the theme of the song.

Judges for yourselves with a compare and contrast.

First up the version from Petibon and Dessay; well sung (it would be unfair to say otherwise) with a superb musical arrangement but lacking pep.

It's a track from the album "Entre elle et lui", due to be released on October 21 and on which Dessay and Legrand revisit some popular classics.

The pair (Dessay and Legrand that is) are also set to play several dates over the next few months, kicking off with Olympia in Paris a week after the album's release.

And then that clip from the film starring Deneuve and Dorléac.








Friday, 4 October 2013

Friday's French music break - Grégoire, "Si tu me voyais"


You know how sometimes you hear a song that you initially start out disliking but gradually discover has grown on you?

Well sadly that's not the case with this week's Friday's French music break.

It's "Si tu me voyais" from Grégoire (Boissenot, to give him his full name) and frankly, it makes the task of convincing sceptics that the French music scene actually has something worth listening to harder than it is at the best of times.

Grégoire (screenshot from the official video for "Si tu me voyais"

The single is the first to be released from Grégoire's latest album  "Les roses de mon silence" and is a strange choice because it's far from being pleasant on the ear.

Ah fans - and there are plenty of them around as Grégoire was the first act to achieve his breakthrough thanks to My Major Company, the label which gives subscribers the possibility to become music producers by investing in up-and-coming artists - will be up in arms no doubt.

But take a listen to some of the other songs on the album, and you'll perhaps wonder why "Si tu me voyais" was chosen as the first single... or even a single at all.

There's the title track for example -  much more in the tradition of a French ballad, complete with piano, voice and accordion.

Or "L'enfance", which is full of emotion and musicality (and a violin)

Still, someone at the record label must know what they're up to and "Si tu me voyais" it is.

All of the comments on Grégoire"s Facebook page are suitable adoring - as you would expect. But there's the odd voice of dissent over at YouTube .

Without doubt the song will please those same fans who first discovered Grégoire with his debut hit  "Toi + Moi" in 2008, but it might leave those who float in an out of his music wondering what the heck and why?

Talent, the 34-year-old has - in abundance - and a voice that distinguishes him (in a positive way) from many other French singers around at the moment.

But this song is simply not his best - far from it.

It begins inoffensively enough; gently upbeat, leading you to believe that it's going to be just another one of those French songs that's pleasant enough to listen to and nothing more.

And then halfway through Grégoire squawks into action, his voice belting out the lyrics in what becomes an assault on the ears (it can't be good for his vocal cords either).

Still, take a listen for yourself - and maybe turn the volume down at a touch at 1 minute and 52 seconds.


Related Posts Plugin for WordPress, Blogger...

Blog Archive

Check out these sites

Copyright

All photos (unless otherwise stated) and text are copyright. No part of this website or any part of the content, copy and images may be reproduced or re-distributed in any format without prior approval. All you need to do is get in touch. Thank you.